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赤粒艺术:【以纸为尊】杨识宏、杨世芝、梁兆熙、陶文岳、李足新

来源:M哇生活 2020-05-28 22:19:17
赤粒艺术【以纸为尊】杨识宏、杨世芝、梁兆熙、陶文岳、李足新五人展

李足新 LEE Chu-hsin 分列式March-past 2009 碳精、压克力、纸 29x36cm

赤粒艺术:【以纸为尊】杨识宏、杨世芝、梁兆熙、陶文岳、李足新

梁兆熙 LIANG Zhaoxi 兔Rabbits 2016 压克力、木炭、纸本 96x120cm

赤粒艺术:【以纸为尊】杨识宏、杨世芝、梁兆熙、陶文岳、李足新

陶文岳 Tao Wen-Yueh 源之礼讚 The Glory of Ingenuity 2016 複合媒材 纸 110 x 80 cm

赤粒艺术:【以纸为尊】杨识宏、杨世芝、梁兆熙、陶文岳、李足新

杨世芝 Yang Shih-Chih 细读绿山水 To Penertrate a Green Landscape 2013 墨丶矿物颜料、棉纸拼贴于纸板 39x49cm

赤粒艺术:【以纸为尊】杨识宏、杨世芝、梁兆熙、陶文岳、李足新

杨识宏 Chihung Yang 远方的回声 Fading Echo 1993 木炭、铅笔、粉彩、压克力、纸本 76x56cm

赤粒艺术:【以纸为尊】杨识宏、杨世芝、梁兆熙、陶文岳、李足新
    展期

    日期:2016-05-21 ~ 2016-06-30

    地点

    大安区

    参展艺术家

    杨识宏,杨世芝,梁兆熙,陶文岳,李足新

    赤粒艺术:【以纸为尊】杨识宏、杨世芝、梁兆熙、陶文岳、李足新赤粒艺术

    台湾,台北市

      如果说英国国家画廊与泰特美术馆是前二十世纪油画与近当代艺术资料库,大英博物馆就是国家级「纸上作品」藏宝窟,这座宝窟相对于其他热门馆藏较不为人所知,「版画素描部门」收藏两百万幅版画,五万幅素描;民众如果先行预约就能与心仪的作品至少单独「约会」一小时,享受短暂拥有拉斐尔「女先知」或透纳速写本的热情。一位相关部门管理人形容,「这一切都是为了乐趣」。

      是的,都是为了乐趣。

      相对于油彩与画布,藉由水彩、墨水、铅笔、炭笔或木炭,以及混合媒材表现在画纸上的作品,本质上相对更直接,或者说,更生猛(raw),画家透过这种直接而生猛的方式展现对事物观看与思考的过程,那幺,看画的人透过这些「纸上作品」能不能感受这股直接与生猛的力道?观众「阅读」画家观看的过程,「思考」画家思考的过程,进一步建立属于自己「阅读与思考」的过程;当「纸上」与「纸外」的力道狭路相逢,将会擦撞出什幺样的火花与乐趣?这就是我们提出的邀请与问题。

      杨识宏挥洒混合媒材,以纸上作品记录一个东方人在纽约的生活与创作过程;冲击与融合,阻力与助力,抽象与具象,传统与现代...展现「规律的骚动」。

      杨世芝以水墨为媒材,以繁複拼贴为技法,创作元气淋漓的当代艺术,看见油画肌理却不是油画,看似山水却不是山水,看不见性别与年龄,看得见画家的战斗热情...

      梁兆熙以木炭拟物写景,孤高顾盼的孔雀,孤独休憩的野兔,人迹罕至的空山密林,时光凝节的火车头;黑白之间,第一眼儒雅,第二眼深沉,第三眼...

      陶文岳的创作如同纪录生活情感的日记,纵横创造在多元意念、材质世界里,主动从灵魂中挖掘诗意的沈澱,在现象中感招艺术。

      李足新补捉自然的乡愁意象,画家生命经验叠合在历史人文的洪流里,自然景物被其罗织隐藏于黝暗时空氛围中,呈现出神秘气质。

      感谢王嘉骥慨然提供威廉‧透纳的引言,为这次展览定调注解:First of all, respect your paper! Keep your corners quiet. Centre your interest. And always remember that as you can never reach the brilliancy of nature, you need never be afraid to put your brightest light next to your deepest shadow in the centre but not in the corners of your picture.

      让我们以这位「光之画家」的话作结:首先,以纸为尊!边边角角无需张扬,专注凸显画作重点。记住,自然之美,人力永远无法企及,不必害怕将最明亮的光线与最深沉的阴影并列画作中央。
      If the National Gallery and the Tate galleries serve as a database of oil paintings from the 20th century and the modern and contemporary art, then the British Museum is a national treasure house of “works on paper.” Relatively unknown compared to other sought-after sections in this treasure house, the Department of Prints and Drawings boasts a collection of approximately two million prints and 50,000 drawings. Visitors who have made a reservation in advance can “date” their beloved works for at least an hour, savoring Raphael's Sybil or William Turner’s sketchbook to the fullest. Just as described by a keeper from a related department, “It’s all for the fun.”

      Yes, it’s all for the fun.

      As opposed to putting oil paint to canvas, the method of applying watercolor, ink, pencils, charcoal pencil or charcoal to the paper in the form of mixed media is inherently more direct, or raw. Could the viewer sense in these “works on paper” the directness and rawness with which the painter demonstrates how he views and thinks about the subject? The viewer “reads” the viewing process of the painter, and “thinks” about the thinking process of the painter, thus establishing his own process of “reading and thinking.” What dynamism and excitement would arise from the meeting of two forces–“on the paper” and “outside the paper”? This is the proposition and question we would like to pose.

      By composing works on paper with mixed media, Yang Chihung documents the experience of an Eastern living and creating in New York. It embodies “an orderly commotion,” resulting from encounters between impact and blending, obstacle and catalyst, abstract and concrete, as well as traditional and modern.

      Yang Shihchih utilizes ink and water as the media, and complicated collage as the approach in creating energetic modern artworks. They are not oil paintings despite their oil painting textures, nor are they landscape ink paintings in spite of an ink-and-water look. While gender or age remains unsaid in her works, you can see the painter’s undaunted fighting spirit....

      Liang Zhaoxi depicts landscapes and subjects with charcoal, from the peacock with an aloof stare, the rabbit resting solitarily, the mountain and forests rarely visited, to the locomotive where time stops. Between black and white, they are gentle at first sight, profound at the second, and at the third glance….

      Tao Wenyueh keeps track of his daily feelings and emotions in his works. By creating in diverse contexts and the physical world, he seeks poetic reflections from the soul, drawing inspirations from surrounding phenomena.

      Lee Chuhsin captures nostalgic imagery in the nature, casting the life experience of the painter into the historical and cultural currents. Natural landscapes are woven into dark reaches of time and space, enveloped in a mysterious atmosphere.

      Thanks to Chia Chi Jason Wang’s sharing of William Turner’s words, we may define the exhibition as follows: “First of all, respect your paper! Keep your corners quiet. Centre your interest. And always remember that as you can never reach the brilliancy of nature, you need never be afraid to put your brightest light next to your deepest shadow in the centre but not in the corners of your picture.”

      So let’s close with the words of “the painter of light.”

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